Pictograms--assemblages of geometrical shapes that represent parts of the body--simply and vividly show how the body moves. They can be used to help elementary students draw larger figures and have confidence in drawing people. The pictograms also encourage children to look at shapes and details that artists use. (RM)

Many students find it difficult to draw complex subjects. Suggested to help elementary students is a method in which they draw eyes from the center out. Observing detail, breaking an area down into small parts, and then connecting them to complete the whole also facilitates reproduction of a variety of objects. (IS)

Art activities, three for elementary students and one for secondary students, are described. Elementary students develop an autobiobox (a visual autobiography in a container), learn to draw trees in a meaningful way, and do human figure drawing; secondary students study and duplicate cast shadows. (RM)

Creating a collage can be an effective way to help elementary children develop good compositional habits, drawing skills, and confidence. Students first gather pictures and photographs and create a collage. They then create a work of art from the collage, by drawing and painting it. (RM)

Techniques are presented to get children thinking about their body motions, thereby increasing the expressiveness of their drawings. (RM)

The authors suggest using graphic dialog--an adult and child drawing together and discussing their work--as a way of developing children's graphic skill. They illustrate the procedure through case studies and note that graphic dialogs between two children can also be effective. (SJL)

Drawing is one of the first forms of art, both in historical terms and in terms of a child's development. Once in school, children should continue to draw and should be encouraged to draw better. Children learn to draw by drawing and by examining the drawings of others. (RM)

Described is an art activity in which sixth graders were asked to draw something that they hear. The children created aural pictures that were truly inventive personal interpretations. (RM)

Drawing on the Kreilters' work with the psychology of adult artists, the authors show how children's story drawings develop the same four types of realities: origins, everyday experiences, normative realities (rules), and prophetic (anticipatory) realities. Illustrations are included. (SJL)

Adults sometimes fail to appreciate the depth of understanding shown in children's art. Examination of drawings in the Prospect Archive (North Bennington, Vermont), a collection of 200,000 pieces of children's art, suggests that houses have great meaning for children and that much can be learned about children from their drawings. (IS)

The authors present an art teaching idea which extends the graphic discussion method described in the October 1981 issue. Rather than drawing together, the two participants respond in writing to each other's completed work, which provides an essential aspect of art learning--responding to another artist's images. (SJL)

The author discusses children's developing conceptions of how to represent objects artistically. She compares the use of detail, line, viewpoint, and dimension in imaginative and observational drawings by concrete-operational children and cites their opinions about the accuracy of their work. Part of a series on children's art. (SJL)

Student drawings which give testimony to the high standards of instruction offered in the art classes of U.S. schools are presented. The drawings reflect the way students think and see. (RM)

Illustrates imaginative approaches to drawing that encourages children's line interests, line collections, and line markings, and helps children to see art everywhere with drawing possibilities in everything. Includes ideas for inventing line making tools and drawing machines, for using new approaches, or treating drawing surfaces and tools in…

This fourth and final article in a series about children's story drawings describes a school art program based entirely on the visual narrative in which all art classroom activities and projects are based upon either visual storytelling or upon developing graphic vocabulary and grammar skills needed for visual narration. (Author/KC)